3/17/2024 0 Comments Tannoy dual concentric speakerDuring the 1960s, almost all of the major British studios used Reds. This design approach creates a point-source, which effectively eliminates the subtle phase shifts that occur when two or more drive units are placed along a monitor’s front baffle.ġ958 saw the introduction of the Monitor Red – the most revered (and now expensive) of all the big Tannoys. A coaxial design, the speaker featured a horn-loaded tweeter situated in the centre of the woofer. The original 15-inch Dual Concentric (and those caps are necessary – it’s a trademark) first appeared in 1947, and was named the Monitor Black. The superb sound they delivered was a revelation to my 17-year-old ears and during downtime, I’d play my favourite records to discover all manner of detail that my humble home-stereo speakers glossed over. A pair of Tannoy Ardens – the largest in the range at the time – driven by a Quad amplifier, dominated the control room. My first experience of Tannoys came in 1985, when I landed my first studio job working as a tape-op. Such was the ubiquity of the brand, the Tannoy name, like Hoover, became a synonym used to describe public-address systems of all types. Unlike today, where there’s a plethora of monitors to choose from, up until the 1980s there was scant choice – and the vast majority of British studios used large Tannoy Dual Concentrics. Before it became the norm for studio monitors to be active, with bespoke onboard amplifiers, most studios used passive boxes.
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